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Ah, strawberries and raspberries! It's easy to see why I love them. Here's a breakdown of some possible reasons:
* Taste:
* Sweetness: Both fruits are naturally sweet, providing a burst of sugary goodness.
* Tartness: Strawberries and raspberries often have a slight tartness that balances out the sweetness, making their flavor more complex and refreshing.
* Juiciness: They are both juicy fruits, releasing a burst of flavor when you bite into them.
* Texture:
* Softness: They have a soft, delicate texture that's pleasant to eat.
* Seeds: The tiny seeds in raspberries add a slight crunch and interesting texture.
* Versatility:
* Eating alone: They're delicious eaten fresh on their own.
* Baking: Strawberries and raspberries are fantastic in cakes, pies, jams, and more.
* Other uses: You can add them to yogurt, cereal, smoothies, or even salads.
* Health Benefits:
* Vitamins: Both fruits are good sources of vitamins C and K.
* Antioxidants: They contain antioxidants that may help protect your cells from damage.
* Aesthetics:
* Colour: Their vibrant red color is visually appealing.
Ultimately, the reason you like strawberries and raspberries is likely a combination of these factors. Perhaps you particularly enjoy their sweetness, their refreshing tartness, or the way they look. Maybe you appreciate their versatility in recipes, or simply the pleasure of eating them fresh from the garden.
Do any of these reasons particularly resonate with you?
This vantage point gave me an opportunity to see multiple large shopping malls in their entirety, as well as the numerous commercial or office buildings that surround them.
A picture of a large shopping complex, consisting of multiple shopping malls that are interconnected with each other, as well as a few office buildings that surround it.
The Palitana temples of Jainism are located on Shatrunjaya by the city of Palitana in Bhavnagar district, Gujarat, India. The city of the same name, known previously as Padliptapur, has been nicknamed "City of Temples". Along with Shikharji in the state of Jharkhand, the two sites are considered the holiest of all pilgrimage places by the Jain community. As the temple-city was built to be an abode for the divine, no one is allowed to stay overnight, including the priests. Every Jain believes that a visit to this group of temples is essential as a once in a life time chance to achieve nirvana or salvation.
This site on Shatrunjaya hill is considered sacred by Jains and have hundreds of temples. There are approximately 863 marble-carved temples on the hills.The main temple is reached by stepping up 3500 steps. It is said that 23 tirthankaras (a human being who helps in achieving liberation and enlightenment), except Neminatha (a liberated soul which has destroyed all of its karma), sanctified the hill by their visits. The main temple is dedicated to Rishabha, the first tirthankara; it is the holiest shrine for the Svetambara Murtipujaka sect.
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Partial MidJourney Render - Post work done with Photoshop and Gigapixel AI.
Image Copyright © Λlpha Λrt 2024 All Rights Reserved
Hair - Modulus (Cahill)
Skin - Clef de Peau (David T1)
Ears - Swallow (Punky Ears)
Sweatshirt - Complex (Crewneck Sweatshirt)
Make-Up - Enfer Sombre* (Cry Baby Set)
Credits: fiercethreads.wordpress.com/2017/08/08/complex/
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Mood: Your interrupting my grinding!
Himeji Castle is a hilltop Japanese castle complex located in Himeji, in Hyōgo Prefecture, Japan.
The castle is regarded as the finest surviving example of prototypical Japanese castle architecture, comprising a network of 83 buildings with advanced defensive systems from the feudal period. The castle is frequently known as Hakuro-jō ("White Egret Castle") or Shirasagi-jō ("White Heron Castle") because of its brilliant white exterior and supposed resemblance to a bird taking flight.
Himeji Castle dates to 1333, when Akamatsu Norimura built a fort on top of Himeyama hill. The fort was dismantled and rebuilt as Himeyama Castle in 1346, and then remodeled into Himeji Castle two centuries later. Himeji Castle was then significantly remodeled in 1581 by Toyotomi Hideyoshi, who added a three-story castle keep. In 1600, Tokugawa Ieyasu awarded the castle to Ikeda Terumasa for his help in the Battle of Sekigahara, and Ikeda completely rebuilt the castle from 1601 to 1609, expanding it into a large castle complex.
Several buildings were later added to the castle complex by Honda Tadamasa from 1617 to 1618. For over 400 years, Himeji Castle has remained intact, even throughout the extensive bombing of Himeji in World War II, and natural disasters such as the 1995 Great Hanshin earthquake.
Himeji Castle is the largest and most visited castle in Japan, and it was registered in 1993 as one of the first UNESCO World Heritage Sites in the country. The area within the middle moat of the castle complex is a designated Special Historic Site and five structures of the castle are also designated National Treasures. Along with Matsumoto Castle and Kumamoto Castle, Himeji Castle is considered one of Japan's three premier castles. In order to preserve the castle buildings, it underwent restoration work for several years and reopened to the public on March 27, 2015. The works also removed decades of dirt and grime, restoring the formerly gray roof to its original brilliant white color.
Guggenheim Museum is a gallery of modern and contemporary art in Bilbao, Spain, designed by architect Frank Gehry. The architecture of this building is out of this world. It seems almost organic and fluid in nature.
The museum looks different form every angle and it changes in appearance with every single change of perspective. It is not just the angle that changes, the building really transforms before your eyes and no doubt its design has a lot to do with that perception. It is one giant random generator of shapes and textures.
More about this photo on my Blog and Facebook page.
Complex simplification
Man I’ve struggled to write this text. It’s felt like digging a hole from England to Australia. The first few spades full were effortless as I enthusiastically threw them over my shoulder, but the hole quickly became very deep and then I hit ROCK. Now the task of finishing the job has become very daunting and if I’m to continue, it’s going to be slow and arduous. So…I’m going to start this with a paradoxical conclusion, then offer some alternative perspectives on digging …but first the conclusion, “simplicity turns out to be rather bloody complex!”
My messy mind
When photographing in a location, I’ve often observed how my ‘state of mind’ influences the way I see world and engage with it. Now this is a massive topic and I’d be foolish to attempt to cover it here, (man it looks very dark in the bottom of that hole). But more recently, I have observed whilst in the most peaceful locations, ‘self imposed artistic ideals’ creep into and distort my particular view of that reality. These thoughts can be very productive when wanted, but sometimes have become irritants when not, placing unattainable expectations of ‘perfection’ of light subject and composition over what is essentially reality.
To experience a ‘beautiful’ location in ‘perfect’ light is indeed, very special but, ‘the very act of photographing’ the location is further introducing complications on how one engage with any given scene. Often, (even without the camera), instead of enjoying the view, I have a sometimes (self diagnosed), irritating tendency to scout for locations, attempt to second-guess the weather, seek out detail, light and foreground interest. When I do have the camera (if I’m honest most of the time when in these locations) and feel inspired to take the tripod off my back, I’m often racing the fast moving conditions, setting up equipment and looking at the world through the viewfinder.
So why is this a problem you ask? Isn’t it your intention to seek out these locations and try to convey some of the feelings you have in a photographic representation? Well yes, but it’s those very ‘feelings’, that are being distorted by the process, that I want to experience as ‘pure’ in order to attempt to convey. I’ve noticed that often I actually ‘see’ and ‘feel’ more for a location when viewing the ‘image’ some time after its making, when I’ve have had time to reflect, things have slowed down and I’ve allowed my mind to dig deeper into the image and location. Unusually I see and feel things that I didn’t when I was making the image, which is bizarre, as you would think that being there in the flesh enables you to see more, but the opposite seems to be true. I would speculate that on location, our senses can become overloaded and the previously mentioned reasons, all influence the unique filtrated perception of the location.
I do believe that we in fact absorbed the overlooked information, somewhere deep in the subconscious mind, but it is only when reflecting on the imagery later that we begin to process the mechanical representations disentangling the thoughts, laden them with significance, and produce feelings. The photograph then seems not only to be historical record of the place we were. But actively catalyzing the emotions surrounding the experience, digging not only into the very place we were making the image, but deep into the recesses of our memory and dragging out past seemingly tenuously connected feelings.
Now all this mental clutter isn’t necessarily a problem, I suppose it depends on how you choose to look at why you were there in the first place. I do however wonder why we naturally filter out that information? I wonder if we simplify it because we cannot possibly process it all to satisfactory levels whilst there (it that just me?) maybe I need a few more slots of ram, or a better fan on my processor.
But seriously I feel analysis of the seemingly natural way our brains simplify any given experience into manageable chunks, offers us some incite as to a method of improving the ‘power’ in our photography.
A compositional tool that distills meaningful elements
The world is a complex place and the act of photographing it has a tendency to simplify our view on it. By choosing to narrow down the subjects, condensing the third and fourth dimension into two and directing the viewers attention onto a particular representation, is offering us an illusion on reality. A distorted view that has been manipulated by the photographer’s actions and thoughts, in a vague representation on a perceived, often overlooked reality. There is a common misinformed perception that photography is truth, but I digress.
If you use landscape painting as a convenient comparison and I’m thinking of artist such as (turner), the simplification of any given perception on reality, enables the artist an ability to distil the multitude of sensory data coming into the mind and focus on presenting only the ones that communicate the desired message/feelings they want to convey. The very act of rejecting elements is in fact paradoxically focusing deeper ones attention on the remaining.
When a shot is simplified, to clear compositional elements, the smallest details can possess greater power. A simple curve can become an overriding factor in the way your eye moves around the presented landscape. The shape and flow of that line, then has to be of impeccable clarity to retain its power. We as viewers linger longer on smaller elements, expecting and actually extracting more from them. The accomplished photographer, then, has primed the work for the viewer, without them even noticing. The ability for a photographer to expose us to the simplified view is then showing us that they are able to creatively distil the elements; it revels to us that we are looking at a skilled practitioner.
When looking at a successfully simplified photograph, I often get some sense of my eye moving over the scene in a controlled manor. It’s almost slowing the viewing process down and highlighting subtle nuances. The experience forces me to really LOOK at the image and draws my attention to normally overlooked elements. Playing with the juxtaposition of these simplified elements has in it hints of ambiguous purity, and when successfully accomplished it’s a powerful viewing experience.
It is also catalyzing a meditative state
We all seem to lead busy lives these days, attempting to squeeze multitudes of tasks and experiences in. Don’t get me wrong I’m the first to admit cramming my free time full of the things I want to do, places I want to photograph, (doesn’t the weekend wiz by), but are we not missing something along the way? It seems to me trying to reach out to wider and wider locations doesn’t necessarily mean greater rewards, as the essence of each place is being overpowered by its very complexity. Slowing down, concentrating on the elemental, gives the experience more depth. Letting your senses see, taste, smell, feel what it is that you’re doing enriches the experience. (For me that is).
Please don’t make the assumption that I’m arrogantly stating this is the only way to enjoy photography, because extracting pleasure in whatever form, is a respectable goal. But it is my intention, no, ‘need’ to dig deep, push my mind into new and uncharted territory, because I thrive on the unpredictable, and looking into oneself through the implementation and reflection of my photography, it’s definitely not simple but incredibly rewarding.
© Bruce Couch & Bodie Group inc | all rights
Don't be a dick, do not use or blog, without my permission. All my images are registered with the US Copyright Office and protected internationally through the Berne Convention.
This picture was not an easy one to make, because of difficulties with light and composition. Many tries went into it, with a variety of gear.
Another view of the Wilson Grain Elevator complex as I was approaching from the east. I wonder if the folks that call Wilson home realize what a gem they have in their downtown.
Everything about this flower impresses me. The detail, color, geometry, etc. is so naturally impressive.
A conversion to black & white using Silver Efex Pro 2 where I used a Titanium Toner and the worked with color filters to bring out a much richer tonal contrast for the final image on this overcast and rainy day.
A view from Diablo Lake Overlook in Ross Lake National Recreation Area.
A roadside stop along the North Cascades Scenic Highway. What caught my attention with this setting was the so calm waters of Gorge Lake that early morning. With the added look of the reflections of the hillside of evergreens, it was definitely a sight to take in! Composing the image was a matter of lining up the far-off hillside to complement the lake waters, even including a little bit of the nearby shoreline. I then worked the shutter speed in Manual mode to get that just right exposure I could later work with in Capture NX2 for the final image.
Complexe funéraire de Djéser. Égypte 1983.
Il est, dans l'histoire de l'architecture égyptienne, le second ouvrage édifié en pierre de taille. Il marque une évolution importante de l'architecture monumentale.
En effet, le tombeau du roi prend, pour la première fois et après de multiples modifications, la forme d'une pyramide. Cette innovation marque la naissance d'un nouveau type de sépulture.
Bien que l'appartement royal ait été complètement pillé dès l'Antiquité, le mobilier archéologique dégagé lors des fouilles de cet ensemble funéraire n'en est pas moins d'une importance exceptionnelle.
Des milliers de vases et de coupes gisent encore au fond des galeries, attendant d'en être extraits. Deux sarcophages d'albâtre, dont l'un contient encore le squelette d'un enfant, sont encore placés au sein des galeries de la famille royale.
Le complexe fut conçu par l'architecte Imhotep. Il est l'aboutissement d'une architecture évoluant depuis la IIe dynastie.